nancy-on-beach

NANCY ANN ROTH

nanimatic at googlemail dot com

+44 (07534 ) 617291

PROFESSIONAL EXPERIENCE (Translation, Teaching, Academic Papers, Criticism)

Translation:

2016 Translation: Lambert Wiesing, Die Sichtbarkeit des Bildes. Geschichte und Perspektiven der formalen Ästhetik, Campus Verlag, 1997, 2008), English: The Visibility of the Image: History and Perspective of Formal Aesthetics, London: Bloomsbury.

2014  Translation: Lambert Wiesing, Das Mich der Wahrnehmung (Suhrkamp 2009), English: The Philosophy of Perception: Phenomenology and Image Theory, London: Bloomsbury.

2014  Translation: Vilem Flusser, Gesten: Versuch einer Phanomenologie (Bollmann, 1991), English: Gestures, Minneapolis: University of Minnesota Press, 2014.

2011   Translations: Vilém Flusser (2011)  Into the Universe of Technical Images and Writing: Does Writing Have a Future? Minneapolis: University of Minnesota Press (The German texts: (1985) Ins Universum der technischen Bilder and (1987) Die Schrift: Hat Schreiben Zukunft, European Photography: Göttingen)

2011  Translation: “The Gesture of Photographing,” The Journal of Visual Culture 10:3, December, 2011, 279-293

Teaching:

1996–2014  Falmouth University [formerly University College Falmouth], Senior Lecturer: BA (Hons) Fine Art, Critical Studies.  2004-2011 Joint Course Leader/Award Leader, MA Photography

1995-96 Department of History of Art, University of Manchester. Lecturer. (Sabbatical Replacement Post)

1993-95 Walker Art Center (Minneapolis). Acting (part-time) Director for Adult Education.

1989-92   University of Wisconsin-Stout, Menomonie, Wisconsin.  Assistant professor, Department of Art and Design

 

Academic Papers:

Forthcoming: “Out of Language: Photographing as Translating,” Routledge Companion to Photography Theory, London: Routledge.

(2014) “Mira Schendel’s Gesture: On Art in Vilém Flusser’s Thought,” with ‘Mira Schendel’ by Flusser http://www.tate.org.uk/research/publications/tate-papers/issue-21

(2012)  “A note on ‘The Gesture of Writing’ by Vilém Flusser,” 24-25 in New Writing: The International Journal for the Practice and Theory of Creative Writing 9:1 (March), Taylor and Francis.

(2012)  “Visual Consciousness: the Impact of New Media on Literate Culture” (on Vilém Flusser and Visual Culture), 326-341 in The Handbook of Visual Culture, eds. Barry Sandywell, Ian Heywood, Oxford: Berg Publishers.

(2011)  Introduction and translation of Vilem Flusser, “The Gesture of Photographing”: 279-293 IN: Journal of Visual Culture 10 (3), December

(2011) “The Photographer’s Part,”  Flusser Studies 10 (flusserstudies.net), November, 2011]

(2010) “Kamaraden und Kohlköpfe: John Heartfield im Universum der technischen Bilder,” [Comrades and Cabbageheads: John Heartfield in the Universe of Technical Images] in Medien Denken, Bielefeld: Transcript Verlag, June, 2010.

(2010) “Writing as Pretext: On the Way to an Image,” 256-264 IN:Arts and Humanities in Higher Education 9(2) June 2010

(2006) “Heartfield’s Collaboration,” 395-418 IN: Oxford Art Journal 29,3.

(2005)  Three entries for Oxford Companion to the Photograph “Painting and Photography,”  “Photography Criticism” “Richard Billingham,”  Oxford: Oxford University Press.

(1989) “L’Artiste and l’art pour l’art: the New Cultural Journalism in the July Monarchy,” Art Journal 48, no. 1 (Spring) 35-39.

(1985) “Electrical Expressions: the Photographs of Duchenne de Boulogne,” in Multiple Views: Logan Grant Essays on Photography, 1983-1989, University of New Mexico Press, 1991. First published in Views: The Journal of Photograph in New England, 6:2, special issue.

CRITICISM (selected):

(2006-present) Short reviews of current photographic exhibitions and recently-published books, commissioned by Source Magazine (Belfast), including:  “Human-Machine Integration” (Drone: The Automated Image.  Le Mois de la Photo 2013), 78: 66-67. “Public Memory,” (Daniel Blaufuks at Ffotogallery, Cardiff, Source 70: 58-59; Wendy McMurdo at Ffotogallery, Cardiff, Source 58: 58-9. Danny Treacy, “Them,” Photographer’s Gallery, London, Source 55; 56-57.“Rather Like Memory” (Hans-Peter Feldman at the Arnolfini, Bristol,) Source 54: 54-55. “A Poetic Heap of Garden Tools,” (Review of Threefold Sun) Source 53: 70-72 “Inhabiting an Inhuman Situation,” Source 52: 54-55; exh. cat. Dutch Dare: Contemporary Photography from the Netherlands, Source 51; exh. cat Victor Burgin, Voyage to Italy, Source 51,  “North of Morocco,” review of exhibition: Tim Brennan at Spacex, Exeter, Source 50, Spring, 52-3

(2008) “Photographic Migrants: John Goto’s West End Blues,” Flusser Studiesflusser-studies. 07 (November, 2008) , available at http://www.flusserstudies.net/pag/archive07.htm. Reprinted as 4-10 IN: Activate 5 (2009), London Metropolitan University, The Sir John Cass Department of Art, Media and Design.

(2008)  “Reflections on the Future of History: John Goto’s A Dance to the Musik of Time,” Eyemazing 03—(Amsterdam) Gallery 36-45.

(2005) “Collaboration and Originality” (catalogue essay on artistic collaboration, accompanying exhibition of work by Mark Dunhill and Tamiko O’Brien) 8-12 IN: Sculptomatic, Bristol: Dunhill and O’Brien.

(2004) “Mark N.B. Hansen: New Philosophy for New Media, Foreword by Tim Lenoir.  Cambridge: MIT Press, 2004” Review. IN European Photography 76, Fall/Winter, 74.

(2004) “Flusser, at Last” (2004) Review of Vilém Flusser (2003) Writings, Andreas Ströhl, ed. IN: Oxford Art Journal 27:3, 433-435

(2002) “Teamworks” (Review of Charles Green, The Third Hand: Collaboration in Art from Conceptualism to Postmodernism) Oxford Art Journal 25:2, 174-5.

(2000) “Closeness as Metaphor” (Review of Richard Billingham retrospective, Ikon Gallery, Birmingham), Afterimage 28:2 (September-October 2000) 13-14.

(1999) “The McLuhan Effect,” Afterimage 27:2 (June-July), 9-11.

(1997) “A Figure Against a Ground: Moholy at 100,” (Feature based on centenary books on Lazlo Moholy-Nagy, Afterimage (Rochester, New York, July-August, 13-15.

(1985-89) Independent Writer/Researcher. Contractual writing, research, editing and translation,  including: art and photography criticism: Aperture (N.Y.),  Afterimage (Rochester, N.Y.); Artpaper (Minneapolis), Minneapolis correspondent for Art News (N.Y.), 1986-87. Translation editing, G.K. Hall, Publishers, Sources and Documents of German Expressionism, an anthology of texts from 1907-1933.  Professors Rose Carol Washton-Long (C.U.N.Y., New York)  and Ida Rigby (SDSU,San Diego), eds.

EDUCATION

B.A. (1973) University of Minnesota .  Major: German; Minor: History

M.A. (1984) University of Minnesota.  Major: Art History. Minor: Studio Arts

Ph.D. (1996) The Graduate Center, City University of New York.  Major:  European Painting and Sculpture, 1860 – present.  Minor: Photography.  Dissertation: “The Politics of Collaboration: Brothers, Friends, the Party and the Performance of John Heartfield, 1915-1938”

HONORS AND AWARDS (selected).

2014. Proposal reviewer for the Social Sciences and Humanities Research Council of Canada.

2011.  Invited participant in Digital Hybridity, a research project organized through D-MARC (Digital and Material Arts Research), University of Derby, 1 April – 17 June.

2010.  Appointment as External Examiner for MA Photography, a new course at Harrogate College.

2004   Advisory Board of Flusser Studies, on line academic journal devoted to the scholarly study and development of Vilém Flusser’s philosophy.

1991  National Gallery of Art, Washington, D.C. Criticism Conference Fellowship. (One of 24 fellows selected nationwide to participate in a national forum for art critics, a component of the National Gallery’s 50th anniversary celebration)

1984  Boston University. 1984 Reva and David Logan Grants in Support of New Writing in Photography (a prize competition; jurors Beaumont Newhall, Ben Lifson). For “Electrical Expressions: the Photographs of Duchenne de Boulogne”.

 

CONFERENCES/EVENTS

Invited Speaker, Remediating Flusser, conference at University of Connecticut (USA), 1-3 November 2013.

Invited Speaker, Mira Schendel Conference, Tate Modern, 16-17 November, 2012

Keynote speaker, Extending Gesture, a conference organized by research students at the University of Edinburgh, 26-28 October 2012.

Speaker: “Beyond Representation: Photography, Humans & Computers,” Southbank University, London, 24-25 May, 2012.

Invited Speaker: “Translation for a Recovered Text,” talk on new work by Lucy Skaer, “Film for an Abandoned Projector,” Pavillion, Leeds, 20 October, 2011.

Invited Speaker: “The Gesture of Photographing,” annual conference of Association for Photography in Higher Education,” Newcastle, 8-9 September 2011.

Presenter: “On Vilém Flusser’s ‘Into the Universe of Technical Images,’” RNUAL Block 3: Research Student First Year Symposium 28 June – 2 July 2010, University of the Arts London.

Erasmus teaching visitor, Universität der Künste,Berlin, 14-21 July, 2009.

Presenter: “Studio Acoustics” in session The Teaching Studio, Association of Art Historians, Tate Britain, 2-4 April, 2008

Presenter: “To Play Against the Apparatus: John Heartfield in Prague 1933-1938, Vilém Flusser: Macht und Moderne (Symposium: Vilém Flusser) Goethe-Institut Prague, 12-14 November 2007

Presenter: “Writing Practice,” Models and Modes of Creative Practice, Institute for Advanced Study, Lancaster University, September 19, 2006.

Respondent, “Estranged Realities,” Newport School of Art, Media and Design, 29-30 June, 2006.

Presenter, “Project-Based Fine Art Curriculum”, University of Wales, Cardiff, [a by-invitation symposium for BA (Hons) Fine Art Department staff preparing to rewrite their own curriculum], March, 2006

Presenter, “The BA Dissertation at Falmouth,” Writing PAD, Central St. Martins, September 2005.

 

OTHER QUALIFICATIONS:

2007. SEDA PDAF Award, Supervising research degrees for professionals in art, design and communication, University of the Arts, London.